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Now everyone is an insider!

In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.

If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at

  • Tuesday, January 24, 2012

    Käthe Kollwitz: Darkness and Light

    Käthe Kollwitz. Selbstbildnis (Self-Portrait),1934. Lithograph on buff wove paper. Purchased.

    Käthe Kollwitz (1867 – 1945) was a German printmaker and sculptor. The first woman admitted to the academy of arts, Kollwitz flourished during the Weimar Republic. Her fortunes changed after Hitler came into power and she petitioned against the Nazis. She lost her studio and was forced to leave the academy. Kollwitz’s commitment to social justice permeates her graphic work, particularly in her portrayals of the working class, the poor, and the effects of war.

    Kollwitz’s prints are haunting, unsettling and provocative, but even as they show scenes of suffering, pain, death and loss, they are not unrelentingly grim. Empathy suffuses Kollwitz’s work, as though art were a way of identifying faces among the masses, drawing them out of anonymity. The sense of figures drawn out of darkness is also a compositional idea in Kollwitz’s prints. Often shrouded in dark, shapeless clothes, her figures come to life in their faces and hands, both communicators of feeling and experience. Take a look at this print called Battlefield,from the series The Peasant’s War:

    Käthe Kollwitz. Schlachtfeld (Battlefield), Plate VI from series Bauernkrieg (The Peasants' War),1907. Etching, mechanical grain, aquatint and engraving on paper. Gift of Mrs. John Wintersteen (Bernice M. McIlhenny, class of 1925).

    In the dark of night, a woman holding a lamp searches for a face she recognizes among the dead. (Given Kollwitz’s frequent depictions of mothers and children, I always imagine this woman is looking for her son.) Notice the dramatic illumination of her hand and the man’s face. I love the expressive use of shadow, light and tone in this print that allows Kollwitz to picture this interaction between the living and the dead, the hand and the face. Kollwitz’s art is, in a sense, a recovery of the dead: like the woman seeking her son, she shines her lamp on the obscure, the victimized and the suffering. This act of bringing light to darkness is, I think, both an act of empathy and of political engagement. She lends dignity to the sufferers and gravitas to those willing to face difficult truths. Her lithograph Call of Deathsuggests that facing death, even facing one’s own death, can be a moment of connection.

    Käthe Kollwitz. Ruf des Todes (Call of Death),1934-1935. Lithograph printed in black ink on cream-colored wove paper. Gift of Mary B. Mace, class of 1935, in memory of Jere Abbott.


    Howard Shubert - 25/01/2012

    Käthe Kollwitz: Darkness and Light

    Thanks for a thoughtful piece. I wonder whether the upraised hand with the barely extended index finger of the figure in Ruf des Todes is a quotation from Michelangelo's Creation scene at the Sistine Chapel, essentially a moment of connection, but one of origination rather than call to death.

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  • Thursday, January 19, 2012

    Pictures of the Floating World

    Kitagawa Utamaro. Japanese, 1753 – 1806.  A Man and a Woman, 1803. Woodcut printed in color on paper. Gift of Mr. and Mrs. James Barker (Margaret Clark Rankin, class of 1906).

    Uikyo-e is a form of woodblock printmaking that flourished between in Japan the seventeenth and nineteenth centuries.  The word Uikyo-e means “pictures of the floating world.”  Traditionally, these prints depict a world of sumptuous colors, elegant women, and dazzling theatrical illusions.

    Toyukuni III (Utagawa Kunisada). Woman Standing in Bow of Boat, Winter, 1820s. Woodcut printed in color on paper. Gift of Helen D. La Monte, class of 1895.

    The “floating world” of Ukiyo-e refers to the pleasure quarters of Edo.  Edo, a modest fishing village, became the capital of Japan under the warlord government called the Tokugawa shogunate that held power from 1603 until 1868.  The village was transformed into a vibrant metropolis known for its entertainment culture, featuring music, Kabuki and puppet theater, geishas, and woodblock prints. 

    Edo flourished.  Within a little over a century of this new government rule, it became the largest city in the world.  When the Meiji Restoration abolished the shogunate in 1868, Edo was renamed Tokyo, meaning “eastern capital.”  Thus, Japanese printmaking and its tradition of beauty and elegance is tied up in the history and rise of the city we now know as Tokyo.  Ukiyo-e is an art of ethereal and ephemeral beauty and pleasure, but it is also very much an urban tradition – both a product of this urban expansion and its visual record. 

    The Japanese print scholar Sandy Kita points out that Ukiyo-e presents a paradox in its name and its history.  “Ukiyo” means “floating world,” and “-e” means “pictures, paintings or illustrations.”  But the word ukiyo, as a common noun, precedes the pleasure quarters of Tokugawa Japan by seven or eight centuries, carrying a rather different definition: “the present” or “here and now.”  Therefore, Ukiyo-e refers simultaneously to pictures of the floating world and pictures of the here and now, pictures of the illusory and pictures of the real.  This print of fireworks over the water nicely encompasses this blend of the ephemerality of the here and now and the almost fantastical beauty of reality:

    Ichiryusai Hiroshige. Japanese, 1797 – 1858. Fireworks at Ryogoku, No. 98 from One Hundred Famous Views of Edo.

    This second translation of Ukiyo-e as “the here and now” might help explain the preponderance of landscape prints in the Ukiyo-e tradition, particularly those by nineteenth century artists Ando Hiroshige and Katsushika Hokusai.  These artists are most famous for their series’ of Edo landscapes – for example, Hiroshige’s Fifty-Three Stations of the Tokaido and Hokusai’s Thirty-Six Views of Mount Fuji – which exhibit a documentary style that seems far removed from the Floating World of fantasy and illusion. 

    These landscape prints are more realism than fancy.  Occasionally, however, they combine realism with legend or myth, as in this print of the New Year’s Eve Foxfires from One Hundred Famous Views of Edo:

    Hiroshige, Ando.  Japanese, 1979 – 1859.  New Year's Eve Foxfires at Nettle Tree, Oji, No. 118, from the series One Hundred Famous Views of Edo, late 1830s.  Gift of Mr. and Mrs. James Barker (Margaret Clark Rankin, class of 1908).

    The centrality of Ukiyo-e in Japanese culture began to wane in the 1850s, when Japan opened up trade with the west and photography, a newly minted technology, gained currency in Japan.  At the same time, artists like Pierre Bonnard, Henri de Toulouse-Lautrec, Mary Cassatt and Edgar Degas were becoming fascinated by Japanese prints, incorporating the aesthetic and sensibility of ukiyo-e into their paintings and prints.  It is easy to imagine how ukiyo-e, with its view of reality as ephemeral and subjective, appealed to these Impressionist artists.

    Henri de Toulouse-Lautrec. French, 1864 – 1901. L’anglais Warner au Moulin Rouge, ca. 1892. Brush and spatter lithograph in olive green, aubergine, blue, red-orange, yellow and black on originally buff, now brown, Van Gelder laid paper. Gift of Thomas A. Kelly. 


    Anders Rikardson - 24/05/2012

    The floating world and Hiroshige

    Amanda is writing about Hiroshige's realism.
    This is most obvious in his landscapes with active "active" weather images. Snow, rain, mist and wind.

    Please see:
    <a href="">Snow, Kinryuzan Temple in Akasaka</a>

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  • Tuesday, January 10, 2012

    Albrecht Dürer: Genius and Fame

    Virgil Solis. German, 1514 – 1562. After Albrecht Dürer. German, 1471 –1528. Christ Shown to the People.1540-1562. Woodcut on paper. Gift of Susan B. Matheson (Class of 1968). Lent by the Mount Holyoke College Art Museum, South Hadley, Massachusetts. MH 1994.12.1

    This past semester, I had the great privilege to take the class The Print and Visual Communication in Early Modern Italy with the Visiting Kennedy Professor of Renaissance Studies Michael Bury. I think I can speak for the entire class and say that we are so grateful that Professor Bury shared his knowledge and enthusiasm with us last semester; we were all sad to see him return to Scotland! Before taking the class, I had never heard of Albrecht Dürer or seen any of his unbelievably magnificent woodcuts and engravings. Furthermore, I had no experience whatsoever with writing exhibition labels or helping to curate an art show, despite my interest in museum studies. Over the course of the semester, I had the wonderful opportunity to not only learn about the fascinating world of Renaissance printmaking, but also to apply my new knowledge to writing the labels for our exhibition at the Smith College Museum of Art entitled Albrecht Dürer: Genius and Fame. The fact that I had the opportunity to focus entirely on three prints from the exhibit, Dürer’s Crucifixion and Christ Shown to the People and Goltizus’s pastiche Circumcision, allowed me to develop a holistic understanding of each. It was amazing that I began the assignment looking closely at the real, authentic impressions in the Cunningham Center and finished the semester presenting the prints and my labels to my friends and family in an official Smith Museum gallery.

    Hendrik Goltzius. Dutch, 1558 – 1617. After Albrecht Dürer. German, 1471 – 1528. Circumcision.1594. Engraving on paper. Purchased with the F.J. Woodbridge (Class of 1921) Memorial Fund. Mead Art Museum, Amherst College, Amherst, Massachusetts. AC 1979.46.4

    I learned so much from my extended analysis of my three prints, as well as my experiences in helping to curate the exhibition. In writing the labels, I was able to apply my new knowledge about Renaissance printmaking techniques, history and culture. However, I also learned how to look closely at every single detail in the prints and was amazed by the fact that each time I looked at them, I saw something new; they are open to endless interpretation and never ceased to capture my curiosity. Furthermore, I also experienced how challenging it is to write exhibition labels, but also how rewarding it is to communicate the most important points about a work of art in only 150 words! The assignment caused me to reflect on the role of labels in exhibitions and the importance of placing yourself in the visitors’ position when deciding what information to include.

    Finally, the opportunity to help decide where to place the prints in the exhibition gallery and witnessing the curator’s process gave me a unique window into the world of museum exhibitions. I learned a lot about how to arrange an effective exhibit taking into many different factors and opinions, and I was proud to observe the successful final result. The whole experience reminded me of how lucky we are as Smith students to have amazing resources like the Cunningham Center and the Smith College Museum of Art that provide us with invaluable learning opportunities. 

               Professor Michael Bury and students at opening of Albrecht Dürer: Genius and Fame